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Great Jones Street, 1958 Enamel on Canvas Collection of Irma and Norman Braman

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Great Jones Street, 1958 Enamel on Canvas Collection of Irma and Norman Braman Great Jones Street, 1958 Enamel on canvas Collection of Irma and Norman Braman Yugatan, 1958 Oil and enamel on canvas Private collection Delta, 1958 Enamel on canvas Private collection Jill, 1959 Enamel on canvas Albright-Knox Art Gallery, Buffalo; gift of Seymour H. Knox, Jr., 1962 Die Fahne hoch!, 1959 Enamel on canvas Whitney Museum of American Art, New York; gift of Mr. and Mrs. Eugene M. Schwartz and purchase with funds from the John I. H. Baur Purchase Fund, the Charles and Anita Blatt Fund, Peter M. Brant, B. H. Friedman, the Gilman Foundation, Inc., Susan Morse Hilles, The Lauder Foundation, Frances and Sydney Lewis, the Albert A. List Fund, Philip Morris Incorporated, Sandra Payson, Mr. and Mrs. Albrecht Saalfield, Mrs. Percy Uris, Warner Communications Inc., and the National Endowment for the Arts 75.22 Avicenna, 1960 Aluminum oil paint on canvas The Menil Collection, Houston Marquis de Portago (first version), 1960 Aluminum oil paint on canvas Collection of Robert and Jane Meyerhoff Creede I, 1961 Copper oil paint on canvas Collection of Martin Z. Margulies Creede II, 1961 Copper oil paint on canvas Private collection Plant City, 1963 Zinc chromate on canvas Philadelphia Museum of Art; gift of Agnes Gund in memory of Anne d’Harnoncourt, 2008 1 Gran Cairo, 1962 Alkyd on canvas Whitney Museum of American Art, New York; purchase with funds from the Friends of the Whitney Museum of American Art 63.34 Miniature Benjamin Moore series (New Madrid, Sabine Pass, Delaware Crossing, Palmito Ranch, Island No. 10, Hampton Roads), 1962 Alkyd on canvas (Benjamin Moore flat wall paint); six paintings Brooklyn Museum; gift of Andy Warhol 72.167.1–6 Marrakech, 1964 Fluorescent alkyd on canvas The Metropolitan Museum of Art, New York; gift of Mr. and Mrs. Robert C. Scull, 1971 1971.5 Palmito Ranch, 1961 Alkyd on canvas The Museum of Fine Arts, Houston; museum purchase with funds provided by the Caroline Wiess Law Accessions Endowment Fund and the artist in memory of Peter C. Marzio Chocorua IV, 1966 Fluorescent alkyd and epoxy paint on canvas Hood Museum of Art, Dartmouth College, Hanover, New Hampshire; purchased through the Miriam and Sidney Stoneman Acquisition Fund; a gift from Judson and Carol Bemis, Class of 1976; and gifts from the Lathrop Fellows, in honor of Brian P. Kennedy, Director of the Hood Museum of Art, 2005–2010 This is going in the Ladder gallery, so may need a gray label. Moultonville II, 1966 Fluorescent alkyd and epoxy paint on canvas Collection of Audrey and David Mirvish Effingham II, 1966 Fluorescent alkyd and epoxy paint on canvas The Glass House, A Site of the National Trust for Historic Preservation, New Canaan, Connecticut This is going in the Ladder gallery, so may need a gray label. Lac Laronge III, 1969 Acrylic on canvas Albright-Knox Art Gallery, Buffalo; gift of Seymour H. Knox, Jr., 1970 Bechhofen, 1972 Wood San Francisco Museum of Modern Art; gift of Mr. and Mrs. Hamilton Robinson, Jr. 2 Kamionka Strumilowa IV, 1972 Mixed media collage Private collection Grajau II, 1975 Paint and lacquer on aluminum Collection of Gail and Tony Ganz Eskimo Curlew, 1976 Litho crayon, etching, lacquer, ink, glass, acrylic paint, and oilstick on aluminum Portland Art Museum; purchased with funds provided by Mr. and Mrs. Howard Vollum 79.36 Grajau I, 1975 Paint and lacquer on aluminum The Glass House, A Site of the National Trust for Historic Preservation, New Canaan, Connecticut K.144, 2013 ABS RPT with stainless steel Collection of Martin Z. Margulies K.459, 2012 Tusk SolidGrey 3000, Plexiglas, and steel pipe Collection of Audrey and David Mirvish Untitled smoke ring photographs, late 1980s Gelatin silver prints Private collection These are going in the ellipse, so may need a gray label. Khar-pidda 5.5x, 1978 Mixed media on aluminum, metal tubing, and wire mesh The Glass House, A Site of the National Trust for Historic Preservation, New Canaan, Connecticut Jarmolince III, 1973 Mixed media on board Private collection Talladega, 1980 Alkyd and Magna on etched magnesium Private collection Clinton Plaza, 1959 3 Enamel on canvas Collection of the Stenn Family Nunca pasa nada, 1964 Metallic powder in polymer emulsion on canvas Glenstone Indian Bird maquettes, 1977 Mixed media on printed tin Private collection Gur I, 1968 Polymer and fluorescent polymer paint on canvas Collection of the Modern Art Museum of Fort Worth, Museum purchase, The Benjamin J. Tillar Memorial Trust Acquired in 1987 4 --------------------------------------------------------------------------------------------------------------- K.81 combo (K.37 and K.43) large size, 2009 Protogen RPT with stainless steel tubing Private collection Modernist abstract painting in the early twentieth century arguably began with the desire to make painting communicate as viscerally as music. Wassily Kandinsky, Georgia O’Keeffe, and Arthur Dove, among others, all drew inspiration from imagining the ways that visual form might mimic wordless musical compositions. Stella does the same in his works titled after the compositions of the Baroque-era harpsichordist Domenico Scarlatti (1685–1757). But he takes the relationship between sound and vision a step further than traditional painting could: just as music unfolds in real time, the Scarlatti Sonata Kirkpatrick works reveal themselves only as we move around them, creating new configurations and spatial relationships between the lines and shadows. --------------------------------------------------------------------------------------------------------------- Raft of the Medusa (Part I), 1990 Aluminum and steel The Glass House, A Site of the National Trust for Historic Preservation, New Canaan, Connecticut Stella has frequently spoken of his desire to create forms of abstraction that can address larger themes. This sculpture draws its name and its general structure from Théodore Géricault’s painting The Raft of the Medusa, 1818–19, which depicts the desperate aftermath of a shipwreck. With its upright, quasi-architectural armature supporting ragged debris, Stella’s version is almost post-apocalyptic, suggesting wreckage on an environmental scale. To make the work, Stella attached found objects to the armature and then poured molten aluminum over them. This is going in pavilion 2, so may need a gray label. --------------------------------------------------------------------------------------------------------------- St. Michael’s Counterguard, 1984 Mixed media on aluminum and fiberglass honeycomb Los Angeles County Museum of Art; gift of Anna Bing Arnold M.84.150 Stella titled this work after a massive stone fortification on the Mediterranean island of Malta, a site he later described in almost magical terms: “There’s something very particular about the making—the building up—of the harbor at Malta. For a time, some special power radiated out from that island. It was as if some sort of uranium was there, as if they possessed the power of the pyramids.” The Baroque artist Caravaggio lived for a time in Malta, and Stella visited the island to see The Beheading of Saint John the Baptist, 1608, one of the Italian artist’s masterpieces. St. 5 Michael’s Counterguard takes broad inspiration from Caravaggio’s painting and from the island itself. With its bold, interlocking circles; ambiguous, reflective surfaces; and dazzlingly smooth volumes, this piece is a powerful example of how Stella has drawn on art-historical, architectural, and natural sources to fuel his own work. --------------------------------------------------------------------------------------------------------------- Damascus Gate (Stretch Variation III), 1970 Alkyd on canvas The Museum of Fine Arts, Houston; museum purchase funded by Alice Pratt Brown In 1969, a year before he made Damascus Gate (Stretch Variation III)—one of several Protractor Paintings named after gates to ancient cities—Stella explained that he wanted “to make what is popularly called decorative painting truly viable in unequivocal abstract terms.” This ambition was, for most of his contemporaries, unfathomable, it was commonly agreed that paintings could not be visually seductive and avant-garde at the same time. For Stella, however, it was increasingly important that beauty, visual energy, and unalloyed pleasure should no longer be considered out of bounds for abstract painting. The sheer energetic force of works like Damascus Gate testifies to that commitment. --------------------------------------------------------------------------------------------------------------- Gobba, zoppa e collotorto, 1985 Oil, urethane enamel, fluorescent alkyd, acrylic, and printing ink on etched magnesium and aluminum Art Institute of Chicago; Mr. and Mrs. Frank G. Logan Purchase Prize Fund, Ada Turnbull Hertle Endowment 1986.93 Gobba, zoppa e collotorto is part of Stella’s Cones and Pillars series, in which the artist worked with the geometries underlying Baroque paintings, projecting them out of the picture plane and reimagining the work of Caravaggio and his contemporaries for the later twentieth century. This painting, like the others in the series, is named after a story from the Italian writer Italo Calvino’s 1956 book Italian Folktales, reflecting Stella’s realization that he could create a sense of narrative using the interactions of shapes and colors. “The Cones and Pillars,” he explained, “have a blunt, primitive quality to them as paintings. They have very much the spirit of the well-told folktale. They are very active, they’re very fantasy-like, and they’re simple—even brutal—in the way that fairy
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